The uniqueness of "Vertical Paintings" lies in the fact that its composition is laid out not along the horizontal, but along the vertical, and because of this shift, an entirely new meaning arises in the painting. Both depictions - the upper and the lower one - are in different positions: the lower is laid out correctly in the painting; the upper depiction is arranged sideways.

There are two different realities: the one represented vertically on top is a school scene of pupils in a class, with a central figure representing authority and power which is shifted sideways on a precarious balance; it runs on the other behind and decomposes into few fragments which invade the lower one which represents a couple on a bench from behind, looking at a river in the city, laid out “correctly” in the painting. This composition shows a clear reference to the one with familiar subjects in many classical paintings, especially the baroque one: the inter-relationship between what is happening in the sky and what is happening on the earth below and are built around contrast – dynamic events in the sky and more tranquil ones on earth. As a rule, both halves interact in terms of plot, responding to one another. In this painting, there is no such interaction in terms of the subject matter, both halves are entirely neutral toward one another, but because one of them is radically twisted and tossed to the side as well there are pieces disintegrating into the one below, an atmosphere of destruction, chaos and catastrophe emerges.